Plastic Tear

Jun Miyazaki sees himself as a film-maker-hunter. On the frontier between where one ends and another starts, he tries to get hold of his film prey. Waiting patiently and watching minor changes is the motto.

Experimental short film made up of still images, by Jun Miyazaki.

Short movie by Jun Miyazaki.

Frozen Dream explores visual and sensory elements, using imagery, form, and rhythm to evoke a dreamlike, introspective experience.

“The visual harmony of the landscape is disturbed by a screen that allows us to see into the distance (television). The film is composed of six scenes that feature a television in the landscape. The speed of the television (in NTSC) is 30 frames per second, and never changes in this film. But the landscape views pass at different speeds.” - Yo Ota

“The structure of human vision is the visual knowledge of the world. Individuals do not visually understand the world through the eyes, but through the brain. That is to say, human vision has been formed by knowledge and experience. The film can show a new vision, provided that the cinema is also a kind of visual experience and visual knowledge.” - Yo Ota

Taking a stroll with a gleaming, floating ball.

Experimental 16mm short by Jun Miyazaki.

In this work, no matter which scene or cut you look at, basically a different amount of time will pass than it did during the shooting. This is true not only inside the screen of individual cuts, but also in the direction of the entire time axis. The time that flows here is a cinematic time that was newly created using the time that flowed when Mr. Kazufumi Kobayashi created a stag pattern out of paper. If we say that time is a function of motion and space, then this can be rephrased as cinematic motion and cinematic space generated by the film.

Flotte is French slang for rain or downpour. This work was taken on a rainy day at the Abt Gallery in Waseda, Tokyo, a few days before his solo exhibition. If I can't shoot that day, I have to give up on the new work, and I can't help but worry about the rain. Before I saw the rush, I was worried about whether the picture would come out properly, but the rain came out beautifully, so I gave it the title "FLOTTE". It is constructed so that the speed changes intermittently in one cut (actually, it is meant to appear that way).

With no plot or characters, this experimental film captures the landscape of a housing project, as well as the varied possibilities arising from its visual impact on the landscape. The reason why I chose a housing project as my subject is because I used to live in one and, even now, am strangely drawn to them. I also suspect that regardless of one’s nationality, the housing project is an archetypal environment universally recognizable to those of my generation. Without using spoken words, this film is a dedication to the housing project and those people of my generation all over the world.

Walking socially empty spaces.